The Autobiography of Benvenuto Cellini

I was in Florence recently, when my eyes came across this book. I'am no expert in art, history or biography, but this was a great read. I chuckled often as Cellini vividly portrayed the many adventures of his life. The one amazing thing about this book is, how real Cellini becomes. You feel his many pains and triumphs. Cellini is very normal and flawed, which make him more endearing. I love the guy and wish he were alive today, cause he's the type of guy you'd enjoy a beer with. Buy this book. For everyone.

This much-translated book is the story, in his own words, of a real person whose life seems more like fiction. For clarity, I am going to offer readers unfamiliar with the work some facts, before briefly describing the excellent Oxford World's Classics version (the sixth in English), translated and annotated by the team of Julia Conaway Bondanella and Peter Bondanella. I hope that this will help others find their way through a confusing bibliography. (Those familiar with Cellini should skip to the end.) Benvenuto Cellini, Florentine goldsmith, sculptor, and enthusiastic self-promoter, can safely be described as a man of the sixteenth century, since he was, conveniently, born, in November 1500, and died in February 1571. Other statements about him, however truthful, often sound like fiction. The autobiography he wrote and (he says mainly) dictated between 1558 and 1566 breaks off in November 1562. It covers several tumultuous decades in later Renaissance and early Counter-Reformation Italy, with excursions into the Swiss Alps and France. Alongside Cellini's frequent descriptions of his own prowess as an artist, a duelist and brawler, and a lover, it is notable for Cellini's almost equally frequent confrontations with celebrated figures; it sometimes seems the most appropriate title would be "And Then I *Told-Off* the Pope, the Emperor, the King and Queen, the Duke and Duchess, and the Judge." Amazingly, a lot of it can be confirmed from contemporary documents; Cellini's penchant for getting into trouble, and the fact that he worked in precious metals, both helped leave paper trails. Cellini's treatises on goldsmithing and sculpture were published in his lifetime and include autobiographical passages; his account of his life had a limited circulation in manuscript, including one corrected by his own hand, until it was published, from an inferior copy, in 1728. A series of Italian critical and popular editions have followed, up to the present. He has yet to achieve the status of Michelangelo and Raphael, which he coveted, but he is being read. His great bronze statue of Perseus, the casting of which he told and retold, was recently restored. Unfortunately, this was soon overshadowed by the theft of his last surviving goldwork, the "salt-cellar" he created for Francis I of France (not the original patron for which it was designed, as usual). [Stolen in 2003, the ten-inch high object was finally recovered in January 2006; at which time its worth was estimated at 60 million dollars. Or -- in the same BBC story -- as either 33.9 or 36 million pounds; I'm sure Cellini would have insisted on the higher figure. He certainly would have been delighted by the constant repetition that it is "the Mona Lisa" of sculpture," until he decided that the reference should be the other way around.] The first English translation, by Thomas Nugent, appeared in 1771. A German rendering (serialized beginning in 1796, according to the Bondanellas), published in book f

There are few books about the renaissance that are as entertaining and rewarding as this autobiography of Benvenuto Cellini, one of the most celebrated glodsmiths and artists of that time. The book is candid and can also serve as a tour guide of Florence for the more adventurous. Certainly I would recommnend reading it if you're thinking of visiting. Cellini describes other artsist of the time, famous spats between artists and between artists and their masters. despite the genius of the man, Cellini's book is more interetsing as a first hand docuemnt of what it was like to live in that time. One gets the imperssion of the sort of education parents siught for their children. Cellini describes this without holding back contempt, we also learn of his musical talents and his childhood. Cellini vividly describes his father beating him on the ears in order to leave the lasting impression of the wonderous sight of a salamander in the fireplace. the heart of the book is set in Rome, where he meets the Pope and is then imprisoned in the Fortress of castel Sant'Angelo - the very same made famous by Puccini's Tosca. Unlike the Puccinian Cavardossi, cellini is bale to escape thanks to the cliché use of bed linens. But remember this is not fiction. I would also suggest to thos interested in this book looking for Anatnio Vasari's "Lives of the Artists", Giovanni della Casa's "Il Galateo" and of course "The Prince" by Macchiavelli. Other renaissance accounts were written by Gucciardini and the Bolognese Paolo Giovio. As a final note I read the original Italian and parts of the English translation featured here. The Tranbslation was very good.

Cellini's story reads better than a novel. He is the quintessential Renaissance man. In his service to popes, kings and a slew of dukes he was a goldsmith, painter, sculptor, soldier and he may have had more near death experiences than any other that I have ever read about. Of course, his tale leaves himself always and forever blameless in each conflict, betrayal or other unfortunate episode that he finds himself in, which is tremendously entertaining. At first, the reader is seduced into believing that this man has been wronged countless times by a world full of the most slippery types of people. By the middle of the book, however, it dawns on the reader that Cellini must have played some part in creating the misfortune and danger that he is constantly in. Cellini's writing evokes vivid images of the places and people that he meets. One of the most engrossing stories in the book is Cellini's imprisonment and later escape from the Castel Sant'Angelo in Rome, where he was confined by order of the Pope (who, according to Cellini, was bent on having him killed in order to prevent his own embarrasement). His escape from the place is a mix of (apparently) classic methods (he climbs down the side of the building using knotted bed sheets!) and terrible misfortune (he breaks his leg, is nearly killed, and is also attacked by mastiffs while crawling away for his life!). Very soon after having escaped the prison, though, he was again imprisoned by the Pope in a wretched and dank little cave in the Pope's own garden (where Cellini claims to have had mystical visions). Cellini has many other adventures in Italy and France (and on his journeys back and forth). Each tale is centered on how he creates his artworks in the service of some nobleman, how the nobleman is always astonished at the work, how Cellini is then betrayed by someone he was kind to (which, through no fault of his own, often puts him in the bad books of the patron). Cellini frequently ends up in a fight where he either wounds or kills the person, and then goes on his happy way. There is a great deal that one could say about this book and its author. It will suffice to state here that the book is a wonderful read, it offers excellent insights into life in the 16th century, and (as is true on my part) it makes the reader crave just half the adventure that this fellow has had.

One of the first and yet one of the greatest autobiographies of all time. Any celebrity or would be celebrity thinking of dashing off a quick "life" or apologia pro vita sua could do worse than start by reading or re-reading this fantastically intense and life-enhancing book